Catalog: Archives: Regional Art: Asian (588)

This baluster form vase is quite large by Japanese standards at 14 inches (35 cm) tall and in perfect condition. Chrysanthemums decorate the sides in rich, dark blue. There is a slight yellow tinge to the white glaze. It is signed on the base Makuzu Kozan Sei. The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan kiln as we know it was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Makuzu Kiln to International Celebrity status, and send his wares throughout the globe. The first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A pair of red and silver iron lotus flowers with long handles serving as Buddhist candle-stands, the light rising from within the sacred flower. Overall raw iron, the coloration of the flower petals is from silver and red lacquer. Each is 26.5 cm (10-1/2 inches) long and in excellent condition.

A decidedly different version of this theme, a Festive carved wooden Tai (Red Snapper) fish with removable side for sashimi coated inside in gold with bone teeth and inlayed bone eyes. The craftsman ahs gone to great lengths to make this as realistic as possible, from the textures of the skin to the folds in the fins and coloring. Unusually, most dishes in this vein are one sided, however this is equally realistically carved on both sides. It is 47 x 21 x 6 cm (18-1/2 x 8 x 2-1/2 inches and is in overall excellent, antique condition.
It may seem strange, but the red snapper is a representative good luck "charm." There are two reasons. One, the pronunciation of red snapper (Tai) is the same as the end of the word for "fortunate" or "worthy of celebration" (Medetai), and two, the red snapper is known for living a much longer life than other fish and is seen as a symbol of long life. In fact, the deity Ebisu-sama is most often depicted holding a red snapper under one arm.

A long “Hengaku” framed painting meant to sit above the transom by Yoshimura Horyu featuring monkeys riding on the back of a deer. One has fallen and is being dragged along like a water-skier by vines tangled in the deers horns. A very humorous scene by this rare Osaka artist. Pigment and ink on silk mounted on gold with a carved rosewood frame. The frame is 154.5 x 50 cm (61 x 20 inches) and is in fine condition, with toning to the silk typical of age.
Yoshimura Horyu (1874-1936) was born in Osaka and studied under Mori Niho (1818-1891), excelling at paintings of animals in the Shijo style of observation from life. Due to size the cost of shipping will be accrued separately.

A discreet masterpiece are words which could easily describe this gorgeous chunk of antique burled vine root carved and polished to a subtle sheen in the shape of a two tiered vase inset with bamboo pots. The piece rises from pebbly textured burl, abundant with character, like a clay pot which collapsed during firing. The second level appears to float above the first on tendrils of smoke. A startling effect. This piece truly captures the Japanese sense of respect for the natural world. It would be wonderful holding a sparse display of small flowers in a Tokonoma or tea room, or even in a collection of scholars desk items. The piece stands 11 inches (28 cm) tall, and is in excellent condition.

A superb 19th century hanging moon Vase of caramel bronze gilded inside entrrely with gold and enclosed in a custom kiri-wood period box titled Kara-kin Gekkei Hanaire (gilded Chinese-Bronze Vase). In this case the word Chinese does not indicate it being manufactured in China, but using a mixture of bronze based on Chinese origins. It is quite large at 14 inches (36 cm) diameter and comes with the original chain and insert for hanging and display of flowers. Although I do see this shape often enough, this quality is rarely if ever found. The box is a bit worse for wear from the last century or more of use, but the piece inside is fine.

Variously colored momiji leaves in enamel blow past the under-glazed cobalt lattice of manjirushi on this large bowl by Takahashi Dohachi dating from the first half of the 20th century. The bowl is 21 cm (8-1/2 inches) diameter, 9.5 cm (4 inches) tall and in perfect condition, enclosed in a fine custom made kiri-wood box.
The Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time worked to expand the family reputation within tea circles. The fifth generation took head of the family in 1897 and was one of the top rated potters of his time, heavily influencing following generation including one of his top students, Ito Tozan. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art.'

Pine boughs laden with snow shelter a pair of foraging raven in a spectacular scene reminiscent of paintings of the Kyoto school masters which decorates this Meiji period cloisonn$B!&(Bvase. The unusually tall tapered form swells at a tight shoulder to close about the wide neck wrapped with a band of darkly patinated silver. Silver wire defining the color is so thin as to be almost invisible. On the copper colored base drift three blue and white snowflake dials, the color matching that inside the mouth of the vase. There is an old repair of the highest quality visible upon close inspection (to the trained eye) in the blank of the undecorated side, as well as a number of fine cracks which seem to blend into the erratic branches of the pine tree above the dark birds. The vase sits on a custom made rosewood base with five scrolled feet and comes with an unusual custom made lacquered lid decorated with a peony (botan) in gold maki-e. Total height with base 16 inches (40 cm), the height of the vase alone 14 inches (35.5 cm).

Mother of pearl flowers rise among the large leaves of a paulownia tree on this small lacquer box and tray dating from the early 20th century enclosed in the original signed wooden box by Yoshida Rissai. The workmanship is flawless, with a fine sense of depth brought on by the mother of pearl lined with gold powder and set against a ground of golden mist on black. Inside is a rich, red tinged nashiji ground. The box is 14 x 11 x 5.5 cm (5-1/2 x 4-1/4 x 2-1/4 inches) and both box and tray are in excellent condition.
Yoshida Rissai (1867-1935) was born the son of a Nara painter attached to some of Japan’s holiest sites, Kasuga Taisha Shrine, Todaiji Temple, and Kofukuji Temple. In his home town of Nara was the Shosoin Treasure house which housed the 8th century Imperial art Collection. The Meiji government, which promoted the protection and production of arts and crafts as part of its modern nation policies, held the Nara Expo at which the Shosoin treasure was also exhibited and this until then largely unseen collection of 8,000 items inspired generations of artist to delve into the past and look at the history of crafts. The repair and imitation as well as restoration began in earnest in the early Meiji era. One of the names that rose to the top for both restoration of the imperial treasures as well as research and duplication of techniques was Yoshida Rissai, and it was he who brought the name of "Nara Lacquer Ware" to the world. His brother Kyusai also became a lacquer artist, but took his mother’s surname Kitamura. This box made by Rissai appears to have come from the collection of the Kitamura side of the family, Signed made by Rissai of the Southern Capitol inside, with the name Kitamura Noritsugu as the owner written outside the box. The descendant of this family Kitamura Shosai became the first Living National Treasure for Raden lacquer inlay in 1999.

A superb image by Hirai Baisen depicting the fire lit on the mountains surrounding Kyoto on the final day of Obon enclosed in the original signed wooden box titled “Okuribi”. It is performed with washes of ink and gold on silk, bordered in a fine frame of patterned brocade. It is 22 x 79 inches (56 x 200 cm). It features large ivory rollers, which will need to be changed if shipped outside Japan. There is a wrinkle in the scroll (not a hard crease) through the line of housing (see photo)
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston and a plethora of important public and private collections.

white lines defining this tea bowl defy the superlative rendition of a bird snapping up an insect from a hibiscus by Ogata Gekko within. The bowl is 4-1/2 inches (11.5 cm) diameter, 3 inches (7.5 cm) tall and in fine condition. It comes wrapped in a silk bag and enclosed in a superb kiri-wood box.
Ogata Gekko (1859-1920) of Edo (now Tokyo) was born the son of merchant Nakagami Seijiro and was heir to a small fortune. As is often the case with such stories, he was orphaned at a young age, and the family fortune was lost to him. Painting lanterns and designing rickshaws, he was discovered by Kawanabe Kyosai, and introduced to the Ogata family, where he was adopted. Initially he worked as a graphic and industrial designer for Newspapers, magazines and commercial enterprises, never attending art school, and was most unique in that respect. He worked as a war correspondent in the Sino Japanese war (1895) and this would come out in his woodblocks. He was a lifelong friend of Fenellosa and Tenshin, and his work was lauded abroad at such important events as 1893 Chicago Expo,1900 Paris Expo, and gold-prize at the 1904 Worlds Fair in St. Louis as well as London in 1910. F course his international acclaim was mirrored at home with prizes at the Kyoshinkai (1893 and 1894) 1896 Japanese Art Association and was acquired by the Meiji Emperor in 1898. His unschooled approach to printmaking however may be his greatest gift to Japan and the world, and he can be credited with founding the ideas and printing techniques of the 20th century Sosaku Hanga genre. There is a plethora of information available on this artist and his work is held in many great institutions including the British Museum and the Museum of Fine Arts Boston. Thanks to Rob Turley for his in depth research into this artist.

A large bronze vase on rosewood stand featuring a dragon rising into three dimensional form from the murky surface; signed on the base Shinsui. The fearsome creature appears like a wraith, points of its armored body writhing through the dark patina. The stand itself is a work of art, exquisitely carved with four cut through diapers, on each corner of which is a squat leg, a large floral dial carved through in the center. The vase is over 9 inches (23 cm) tall, 10 inches (25.5 cm) in diameter and in excellent condition. In Buddhism the dragon is considered as the guardian of faith and the protector of sacred places. Because one could never grasp its whole personality, the dragon is usually not shown in its entirety but half hidden in swirling clouds and stormy waves.

A young girl reaches up to steady herself on a branch laden with plum buds, not yet ready to open, as she presses down on the ice with her bright red shoes. This is an absolutely darling image by Chishima Kayo, which came to us as a silk makuri (never having been mounted) painting, which our restorer placed in this natural field allowing the painting to show itself.
Chishima Kayo (b. 1890) was a female artist of the Meiji to early Showa periods. She was born in Saitama and studied initially under Kawai Gyokudo then Kaburagi Kiyokata. She consistently exhibited with the Kyodo-kai (Kiyokata’s Salon exhibition) from 1916 as well as the Teiten National Exhibition from 1927, a rarity for a female artist. Nothing is known of her life post-war.

The richest blue bamboo rises majestically against the bright yellow ground of this exceptional vessel by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Kiyu Seika Takenozu Kabin (Vase with Blue Bamboo Design on Yellow Ground). It is 33 cm tall (12-1/2 inches) tall, 23 cm (9 inches) diameter and in excellent condition, signed on the base.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A fox sits wrapped up like the Daruma, a humorous image by long time head priest of Kenninji Temple Takeda Mokurai (1854-1930) in light ink on paper. The scroll has been fully remounted in dark forest border extended with beige and features black lacquered wooden rollers. It is 18 by 47-1/2 inches (45.5 x 120.5 cm) and in excellent condition. Mokurai began his training as a priest at the age of 7. Developing under a number of masters, he finally settled under Yuzen. During his younger years he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, and in later days, his scholar script was highly prized. As a scholar priest and head of Kyotos Kenninji, he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

A colorful work by Ueda Manshu (1869-1952) enclosed in the original signed wooden box titled Nangokufushu (Taste of a Southern Wind). A boy rides the back of an Ox through a marsh, he happy and dry and the beast happy in the cool water. One can also be reminded of the Zen tales of the Ox-herd, and connotations of enlightenment. Very much in the Taisho style with equal effort on the background as on the fore. The pigment on silk work has been remounted in a gold threaded pale brocade with beige extensions reflecting the original border and retaining the original bone rollers. It measures 71 x 230 cm (28 x 91 inches) and is in fine condition.
Ueda Manshu studied under Imao Keinen and graduated the Kyoto Municipal School of Fine Art. He was exhibited and prized at the Naikoku Kangyo Hakurankai (Meiji period) and later with the Bunten National Exhibition. He was also a prominent figure in the Shotokutaishi-Ten, Jiyugadan-Ten and was prized at the 1904 Saint Louis World Exposition and was featured in other International Exhibitions as well. Works by the artist are held in the Tokyo National Museum of Modern Art (MOMAT) among others as well as decorating the walls and doors of such important temples as Zushun-In, Kyoto

A young Maiko parts the curtains of an Okiya Tea-house entrance, perhaps on her way to training, or to begin a night of traditional entertainment through song and dance. Pigment and ink on silk in a fine brocade border with lacquered red wooden rollers. It is 25 x 78 inches (63.5 x 198 cm). There is some loss to the gofun in the center where it was obviously folded once before being mounted in its current state.

A later Meiji period two panel screen, Pigment on silk, signed Hosen (Usui Hosen) dating 1900-1910. Shunkei lacquer frame with cloth backing. Quintessential for the era, the scene is brushed in an abbreviated style, allowing the viewer to participate by completing the details. Muted colors and the lack of hard lines lend the screen an ethereal quality, as if recalled from a distant memory. The screen is 56 inches x 5 feet (142 x 152 cm) and is in fine condition but for some stress in the silk in the lower portion of the womans garments. Usui Hosen (b 1881, Kyoto) graduated the Kyoto School of Art and apprenticed under Yamamoto Shunkyo before establishing himself as a known Nihonga artist in early 20th century Kyoto the cultural heart of Japan.

Drinking dancing and shamisen playing, a skeleton crew doing donchan-sawagi on the back of a pale gray jiban crepe-silk kimono. The figures are performed in the painstaking shibori technique where each dot is hand knotted before dying, each laborious knot making up one dot in the matrix of the design. The piece likely dates from the Meiji to early Taisho era, late 19th to early 20th century. This is not one of the modern bleached versions of this theme, but an antique original. Very very rare.

Here is a rare Jizai mantis. It is by an artist named Tomiki Munenobu, one in a line of artists carrying on the Myochin style of metalwork. Teh piece likely dates from somewhere in the later Meiji, 1890-1910. Life-size, it is roughly 3 inches long, the same height and in fine condition. It is as found, not yet cleaned or tampered with. The head is mobile; the thorax with retractable arms and folding wings. Jizai is a term used to describe a variety of mobile or articulated crafts in Japan.

A worker makes his way through the autumn tinged hills, home just a few steps away in this brilliant Nanga work by Hashimoto Kansetsu enclosed in the original signed wooden box which is in turn enclosed in a red lacquered wooden box (Nijubako). Light color on silk mounted in a superb frame of blue silk with patterned with dragon dials and featuring large ivory rollers. The scroll measures 22 x 85-1/2 inches (58 x 217 cm) and is in excellent condition.
Born into the family of literatus and painter Hashimoto Kaikan in Hyogo, in the heart of central Japan, Hashimoto Kansetsu (1883-1945) was a sinophile and manic painter trained initially by his own eye and studies of Chinese classics, then under Takeuchi Seiho (1864-1942). Very opinionated (like his teacher) on the future of Japanese painting, he eventually left Seiho’s Chikujokai school and set out to establish his own painting style which came to be called Shin-Nanga (the New Sothern School). He travelled in Europe and extensively in China, and many of his scenes are inspired by that country. His former residence, which he designed entirely himself, is now a museum. Works by this artist are in so many important collections, including the Metropolitan Museum of Art New York, Museum of Fine Arts, Boston, MOMAT (Tokyo National Museum of Modern Art), Adachi Museum, Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, and the Imperial Household collection among many others.

A spectacular set of bira-bira-kanzashi hair pins in the form of cranes among blossoming plum and pine formed of silver which come enclosed in a custom made silk-lined wooden box. Two are 13 inches (33 cm) long, the other is 9 inches (23 cm) long and all are in fine condition. According to a label inside the box they are from Akita City in Northern Japan, sold by Takeyaso Hon-ten. The box is 15 x 17 x 5 inches (38 x 43 x 13 cm). I do have more images if someone is interested.

A very fine early 20th century screen hand-painted simply and exquisitely with the mixing branches of a blossoming cherry and both fresh green and red maple. The painstaking detail in each individual leaf and flower is breathtaking. The awesome scene is triple bordered inside a frame of green brocade, red and black silk and gold. We have had the screen re-backed with original style forest green paper and replaced the black wooden frame. It measures 31-1/2 by 66-1/2 inches (80 by 169 cm).

A water-worn bowl of natural wood lacquered inside with black and gilded, leaving black lacquer on the rim, to create a startling contrast between the mirror like black, shining gold and ancient weathered wood. It is enclosed in a period wooden box titled Jidai Kihachi Sunabachi (antique Wooden Sunabachi Bowl). It measures 34.5 x 30 x 11 cm (14 x 12 x 4 inches). There are two hairline cracks in the gold (see photos).

Hotei bows deeply, showing an unusual moment of respect from the surly sage. An unusual bronze image by Oshima Joun enclosed in the signed wooden box. The face is at once relaxed and respectful, one hand wrapped around a gnarled walking stick supporting the heavy bag on his back. All facets are rounded, with a soft, tight orange-peel surface typical of Tokyo school bronzes. The image is roughly 5 inches (12.5 cm) in all directions, and in excellent condition. Oshima Joun was professor at the Tokyo Art School from 1887 to 1932. His works were selected to represent Japan at the World Exposition in Paris (1900). There is a dearth of information available, specifically, for more on this artist see Victor Harris, Japanese Imperial Craftsmen, Meiji Art from the Khalili Collection (London, 1994) and or Arts of the East and West from World Expositions (2004).

Exquisite floral designs rise softly beneath the rich yellow glaze on this large porcelain vase by Seifu Yohei enclosed in the original signed wooden box. Crisp clarity defines the petaled blooms in slight relief blossoming on scrolling vines. A style both Seifu III and IV were well remembered for. It is signed simply on the base Seifu. The vase is 9 inches (23 cm) tall, the same diameter and in perfect condition. This is likely the work of the fourth generation Seifu, dating from the 1910s or 1920s. Seifu, unlike many potters of the time, was low production and tenacious in approach. The third generation head of the family (d. 1914) was honored as a member of the Imperial Art Academy (Teishitsu Gigei-In).

A large porcelain vase covered in olive green upon which grows a rush of white bamboo and a brief epitaph by Miura Chikusen I enclosed in the original signed wooden box dating to the late Meiji or early Taisho period. It is 15 inches (37.5 cm) tall and in excellent condition. The box has much darkened with age. Works of this size by Chikusen, who largely specialized in the minute world of Sencha ware are quite rare.
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The kiln continues, currently under the management of the fifth generation.

Everything about this sencha tea implement storage cabinet is top quality; a most unusual box made up almost entirely of worm wood featuring a removable door with an inner panel of antique Chinese origin, possibly an image of a tea salesman with his baskets of leaves. A bronze handle surmounts the lightweight box, with a set of four jade rings attached through a pair of folding fans serving as a handle for the door. Climbing up the naturally gnarled sides of the door are two tiny frogs gazing across the smooth reflective burl-wood center panel like a pool. Inside red-orange (shu-iro lacquer covers the removable shelving, with a small drawer below opening with a solid ivory pull. The box is 7 x 11 x 14 inches 818 x 27 x 36 cm) and in fine condition. The box itself likely dates from the boom in Chinese style tea ushered in at the end of the Edo period, and in fact may be of Chinese origin which the polished wood of the door seems to indicate.

Lacquer covers the natural curves of this wood tray for use in the service of Sencha leaf Green Tea. It is 10 x 14-1/2 x 1 inches (25.5 x 37 x 2.5 cm). The bottom shows wear typical of use.
The importance of Sencha in the late Edo and Meiji periods cannot be overlooked, and has been studied in depth in the book Tea of the Sages, the Art of Sencha by Patricia Jane Graham.

An incredible carved bamboo vase of warriors making their way through forested crags whipped by roiling mist cut from a single piece of bamboo and signed on the base Omikuni Sakata Shiori Yamaguchi Moritsugu Saku :Made by Yamaguchi Moritsugu of Shiori, Sakata, Omi Province (Modern day Maibara Shiga Prefecture on the North-Eastern shore of Lake Biwa). It is 35.5 cm (14 inches) tall and in overall excellent condition, enclosed in an old wooden box.
Possibly the image of Okuninushi and his five warrior kami (deities) created in a contest with his sister. They were present when he was forced to give up his lordship of the great reed plain, and sequester himself to the world of the unseen.

A classic Gu vase of exquisite white porcelain by Miura Chikusen enclosed in the original signed double-wood box. It is 13-1/4 inches) tall, 19 cm (7-1/2 inches) diameter at the rim and in excellent condition. This type of Sinophile work was very popular throughout the Meiji and Taisho periods, and Sencha steeped tea had a profound impact on Japanese culture at the time. For more on that see the book ‘Tea of the Sages: The Art of Sencha’ by Patricia Graham (1998).
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.

A cormorant cries out to the sea on the lid of this fantastic suzuri bako writing box enclosed in a red lacquered kiri-wood box. Inside the birds mate looks up from among gold flecked lotus leaves growing wild along the waters edge. The box contains the original tray with stone, the edges of which are flecked with gold. It is in excellent condition but for on ding to the inside of the base, lower left, and one in roughly the same position on the lid. A silk wrap and satin pillow protect the box both inside and out. Repair to both small nicks will be inclusive in this price.

The largest vase I have ever seen for sale by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Seika Sansui taki-ho-ga Kabin (Blue and White Vase decorated with waterfall Mountain Scene). It is 54 cm (21 inches) tall 36 cm (14 inches9 diameter and in excellent condition, signed on the base.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A large Ukibori vase covered in iron with yellow slip raised imagery of birds in a pomegranate tree by Ito Tozan I enclosed in the original signed wooden box dated 1917. It is 16 inches (40 cm) tall 10-1/2 inches (26 cm) diameter and in fine condition.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937).

A Karatsu style shuhai sake cup with cream glaze decorated inside and out by the Zen Priest Nakahara Nantenbo, a priest who was instrumental in reviving the Zen tradition in the beginning of the 20th century. Circling the circumference is a seven character inscription, the first six reading Kaisei Fugetsu O Kan, the last we have not been able to read. Written inside is an image of the priests infamous staff from which he derived his name, and in large characters NANTENBO, written by a 65 Year Old Man Toju (rokujugo okina Toju). Toju was his official Zen name, but his wild nature and propensity for using his long staff earned him the name Nantenbo. The central character Ten (heavens) has been playfully abbreviated to a single line pointing up like an arrow. The priests name-sake staff was cut from a 200 year old Nandina tree the priest found in a garden. After beseeching the owner he was allowed to cut down the tree and fashion it into his walking staff. The Nandina in Japanese is Nanten, and a walking stick is called a Bo, thus the name Nantenbo. It is known Nantenbo, like many priests of his time, was fond of Sake, Japanese rice wine. The piece is 1-5/8 inches (4.3 cm) tall, 2-1/2 inches (6.5 cm) diameter; slightly large for a sake cup of the time. It is in perfect condition but for a small old chip in the Mikatsuki kodai (foot). We could say this piece is very rare; in fact I have never seen nor heard of another. It was purchased in Kobe, home of Kaiseiji, the long time residence of this notorious priest. It comes enclosed in a custom kiri-wood box.

The turret of a lonely outpost rises from the mountain peak formed by this small Japanese scholar rock set into a hand carved wooden base and enclosed in a wooden box titled Ko jinkaku (Small Armored Tower). The stone is 7 inches (18 cm) tall, 5 x 3 inches (13 x 8 cm). It likely was put together in the early 20th century.